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Phrasing is important. The top jazz vocalists are experts at laying down the elasticor the sharp and conciseturn of phrase. New York-based vocalist Laurie D´apice excels in this regard. Like a deft baker working and molding the dough, she stretches and kneads a syllable here, and slices another off with a sharp cut of a dough knife there. Throw in the clear, clean tone reminiscent of Ella Fitzgerald, some superb and unusual arrangements and you've got Dapice's Parting The Veil.
Dapice opens with a one-two punch of the familiara pair of Cole Porter gems, "You'd Be So Nice To Come Home To" and "What Is This Thing Called Love?" She exudes warmth. And joy. She immerses herself in the Abbey Lincoln vehicle, "Just For Me," a slow, smooth, wee hours exploration of dreamy infatuation, with Akua Dixon's gorgeous cello rising to the top of an intricate and understated arrangement. "Midnight Sun," from the songwriting team of Johnny Mercer, Lionel Hampton and Sonny Burke, showcases the power of Dapice's pipes inside a confident, straightforward delivery.
Dapice adds a couple of her own classic-sounding tunes to the mix, including the gorgeous "Winter Waltz," another Abbey Lincoln favorite, "Throw It Away," and a glorious, timeless take on the traditional "Motherless Child," wrapping up the package of first rate vocal jazz.
Track Listing: You’d Be So Nice to Come Home To; What is This Thing Called Love;
Just for Me; Midnight Sun; Feeling Good; Goodbye Summer; Throw it
Away; Social Call; Winter Waltz; Motherless Child.
Personnel: Laurie Dapice: arrangements, vocals, African Drum Box, kalimba,
rainsticks, shakers, ankle bells, singing bowl;
Art Hirahara: piano (1,2,3,4,5,6,7,9); Aaron Graves: piano (8,10);
Elias Bailey: bass (1,2,3,4,5,8,9,10); Rufus Reid: bass (6, 7);
Dwayne Cook Broadnax: drums (1,2,3,4,5,9); Michael TA Thompson:
drums/percussion (6,7); Yaron Israel: drums (Tracks 8 and 10);
Paul Lieberman: piccolo/alto sax/soprano sax/flute; Akua Dixon:
I love jazz because of Elmer Bernstein's score for the 1957 American film noir Sweet Smell of Success, which I first saw as a teenager in the '70s. As a playwright/screenwriter, I write to music and I'm always looking for ways to incorporate it into my work; the most recent example being Bob Crosby and the Bobcats Big Noise From Winnetka, which became the signature theme for my last stage play The Gift of the Gab
I love jazz because of Elmer Bernstein's score for the 1957 American film noir Sweet Smell of Success, which I first saw as a teenager in the '70s. As a playwright/screenwriter, I write to music and I'm always looking for ways to incorporate it into my work; the most recent example being Bob Crosby and the Bobcats Big Noise From Winnetka, which became the signature theme for my last stage play The Gift of the Gab. My late great pa-in-law--the actor Keith Michell--wins the contest hands down however, as he co-starred in the 1962 movie All Night Long rubbing shoulders with Dave Brubeck, Keith Christie, Bert Courtley, John Dankworth, Ray Dempsey, Allan Ganley, Tubby Hayes, Charles Mingus, Barry Morgan, Kenny Napper, Colin Purbrook and John Scott! Wish I could have been a fly on the wall of that soundstage!
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